1. Field of the Invention
The present invention relates generally to equipment for processing audio signals and, more particularly, to sound multiplexer processors and related systems.
2. Description of the Related Art
There are a multitude of situations where it is necessary or desirable to generate audio signals in one location and to process those audio signals in a second, distant location. At rock concerts, for example, audio signals from microphones and instruments are frequently generated on a stage and then transmitted to sound mixing means several hundred feet away. Other similar such situations include broadcast arrangements at television and radio stations, film shooting situations, and various theater, concert and hotel ballroom performances.
In the above-mentioned and similar situations there are a number of types of audio signal generating equipment. This audio signal generating equipment can comprise microphones and musical instruments, as mentioned above, as well as amplifiers, control signal generating equipment, and on-stage headsets. In an average size commercial show, television broadcast, radio broadcast or concert, the audio signal generating equipment used generally produces twenty to forty separate audio signals. These twenty to forty separate audio signals are the signals that need to be transmitted to a sound mixer where they can be manipulated by an audio engineer.
Heretofore, transmission of the twenty to forty separate audio signals generated at a site remote from a mixer have been transmitted to the mixer via a thick, rigid and heavy coil of cables known as a "snake". The snake comprises a number of separate cables equal to the number of separate audio signals generated, that is, generally, twenty to forty separate cables. The separate cables that make up the snake are typically wound tightly together and plugs are installed on both ends, which plugs facilitate connection to the various audio signal generating equipment at the site and to the sound mixer at its remote location.
Because of the size and weight of the snake, it has been necessary heretofore to simply lay it on the ground or floor between the site and mixer locations. That is, the size and weight of typical snakes preclude hanging them on elevated structures or on walls where they would not be susceptible to being stepped on or kicked. Thus, heretofore, snakes have had to be overly long in order to be routed away from an audience (as the mixer is usually positioned in or behind the audience so as to provide quality feedback to the audio engineer performing the sound mixing) or the snakes have had to be positioned where they are extremely likely to be stepped on or kicked by people in the audience. Even when efforts have been made to route the snake away from an audience, it has been virtually impossible to remove it completely from areas where persons might travel. Thus, heretofore, snakes have been extremely susceptible to damage and to causing injury (for example, to a person tripping over the snake). Additionally, excessively long (and expensive) snakes have had to be employed to attempt to avoid damage to the snakes or injury to persons travelling around and/or over the snakes.
Yet another problem that has heretofore arisen with respect to systems including snakes relates to replugging that has been required to meet the audio engineer's desires and/or requirements. For example, some audio engineers like the microphone controls located on the right side of the mixer; other audio engineers prefer the same controls on the left side. During shows and performances it is necessary that each control be readily known by the audio engineer; thus, considerable effort before the show must be expended in physical plugging and replugging to meet the audio engineer's individual requirements. Even when those requirements are met, the prior art sadly lacks means for instantly verifying that the connections are made in a certain manner, which a audio engineer could find reassuring and/or otherwise helpful. Additionally, of course, replacement audio engineers are forced to expend a large amount of time learning and perhaps also physically modifying an in-place system if, for example, they are employed after a first audio engineer did the system set-up.